The Battle Against Woodworm

The Threat of Woodworm Damage

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

Ceruti’s Encounter

A particular violin from the 1800s by GB Ceruti stands out as a witness to the luthier’s encounter. Upon closer examination by Luiz Amorim, it became evident that the restorations to combat woodworm damage were executed by Ceruti himself. This revelation offers a unique insight into Ceruti’s challenges during his time. Access to quality materials was scarce, and economic constraints made it difficult for violin makers to discard or replace damaged wood. Thus, Ceruti took it upon himself to salvage the original wood and restore the violin.

During the 19^th century, violin makers would purchase entire wood logs, allowing them to season naturally in the open air. The wood wasn’t specifically cut for violins, and considerations like the moon phase were unlikely to factor into their decisions. Consequently, the logs may have contained sap, increasing the likelihood of woodworm infestation. Moreover, these logs were not inexpensive, making it economically unfeasible to discard them due to woodworm damage. This forced makers like Ceruti to seek alternative solutions to address the issue.

Further strengthening this argument is the fact that the restoration work was concentrated around the delicate soundpost area of the violin. Recalling that this area is highly vulnerable and crucial to the instrument’s sound production. The scarcity of suitable materials may have compelled Ceruti to restore and preserve even the damaged wood in this critical region. In the world of violin making, craftsmen go to great lengths to keep the soundpost area intact, treating it as the most vulnerable and significant part of the instrument. The restoration efforts in this particular area highlight Ceruti’s commitment to salvaging every usable piece of wood and ensuring the overall integrity and functionality of the violin.

Additionally, during that era, the primary clientele for instruments shifted from the monarchy and the church to individual musicians. This shift prioritized sound quality over flawless craftsmanship, further influencing the maker’s approach.

Confirmation of Ceruti’s Restorations

A meticulous examination conducted by Luiz Amorim using UV light revealed that the restorations were carried out beneath the original varnish, the same as that of the top and ribs. Discussions with fellow violin makers and industry experts revealed a consensus: the restorations were indeed the handiwork of Ceruti himself.

Left: Back of the violin under UV light, the ‘orange’ part shows the untouched original varnish. Right: close-up under the UV light of the restoration done on the wood, beneath the original varnish.