One of the great mysteries surrounding violins is the world of varnish recipes. They have been studied extensively, often guarded as trade secrets, and endlessly debated among violin makers and restorers. Every professional and amateur maker seems to have a favourite formula, shared through workshops, books, professional publications, and the far reaches of the internet.
The role of violin varnish is more than simply cosmetic. A good varnish protects the instrument, helps stabilise it against changing weather conditions, enhances the sound, and highlights the beauty of the timber itself. Of these, the visual aspect is perhaps the most immediately noticeable, but all are important in the life of an instrument.
At its core, violin varnish is made from combinations of resins and gums dissolved either in oil-based or spirit-based mediums. These ingredients affect the varnish’s flexibility, transparency, durability, gloss, and how easily it can be applied. Dyes and pigments are often added for colour, though some colouring also occurs naturally during preparation and cooking stages.
Oil varnishes are generally slower drying and require longer curing times, but they tend to hide brush marks well and can achieve a deep, rich appearance with fewer coats. They also involve more elaborate preparation — boiling oils over heat is not for the faint-hearted. Spirit varnishes, on the other hand, are thinner and faster drying. They typically require more coats and demand careful application, but they are easier to prepare and widely used for repairs and touch-ups.
My focus here is mainly on spirit varnishes, although many of the principles apply equally to oil varnishes. This is the method taught to me by my teacher and by Sophia from the Vettori family (see this earlier post)
Lacs: Shellac, Seedlac and Sticklac
Many violin varnishes use various forms of lac resin. Lac is a natural secretion produced by the lac beetle on trees. It can be harvested directly from branches as sticklac, refined into seedlac, or processed further into shellac flakes or buttons. It is also available in different colours and levels of refinement, including dewaxed varieties.
Shellac is one of the primary ingredients in traditional spirit varnishes and is typically dissolved in alcohol. It imparts a warm glow and subtle colouring to the wood beneath.
Shellac and methylated spirits can be purchased from most hardware stores, though the quality is often fairly rough and may contain waxes and impurities that require filtering or settling. Hardware-store alcohol is usually around 95% purity and works adequately for many purposes. However, higher-purity alcohol (99–100%) combined with quality dewaxed shellac flakes — such as blonde, garnet, or super-clear shellac — can noticeably improve the final finish.
A simple shellac-and-metho mix works very well for repairs and general finishing. The downside is that it dries extremely quickly, which can make brush application challenging. For this reason, some makers using straight lac-alcahol prefer spraying or airbrushing spirit varnishes. The vast majority however use additional addatives to better support brushing…and for other reasons
Oils
Although oil is the main component in oil varnishes, small amounts are also commonly added to spirit varnish recipes. These oils help improve brushability and slightly extend drying time, making the varnish easier to work with.
Common additives include linseed oil and spike lavender oil, both used sparingly. Too much oil can soften the finish excessively or interfere with curing.
Gums and Resins
Violins are constantly vibrating, and many makers believe that adding small amounts of gums and resins contributes to long-term flexibility, tonal response, and optical depth.
Popular additions include elemi, colophony, sandarac, and benzoin.
- Elemi has a soft, almost chewing-gum-like consistency and helps improve elasticity.
- Sandarac is a very hard resin, somewhat like rock candy, that adds gloss and hardness.
- Colophony — the same material used in violin rosin — was historically common in Central European varnishes, particularly Czech instruments. It creates a hard finish but can also become brittle and prone to cracking over time.
- Benzoin adds warmth and softness to the finish and can subtly affect the aroma of the varnish as well.
One well-known spirit varnish formula, the famous “1704 recipe,” incorporates several of these ingredients.
Colouring the Varnish
Varnish colour can come from many sources. Some ingredients naturally darken during preparation — cooked oils, for example, often deepen in colour over time. Different grades of shellac and lac also range from pale blonde through to deep garnet tones.
Additional colour can be introduced using liquid dyes or finely ground pigments. Pigments may be mineral or plant based, and some are altered through heating or burning — raw sienna becoming burnt sienna, for example.
Care should be taken when selecting pigments. Some traditional pigments are toxic, so it is important to research safety precautions before handling them. Pigments can also become overly opaque, obscuring the grain and flame of the timber if overused. Transparent colouring methods generally preserve the beauty of the wood more effectively.
A Popular Recipe: The “1704”
If you are just starting out, a simple shellac-and-metho varnish is inexpensive, easy to obtain, and perfectly usable. When you are ready to experiment further, the famous “1704” recipe is one of the most widely discussed traditional spirit varnishes.
The recipe is often associated with the workshop traditions of Antonio Stradivari and was attributted by the influential violin maker and restorer Simone Fernando Sacconi. It appears in handwritten workshop notes and is referenced in the well-known restoration text by Weishaar and Shipman.
One common version of the recipe is:
- 180g ground seedlac
- 30g ground sandarac
- 30g elemi
- 15ml spike lavender oil
- Spirit alcohol
The ingredients are dissolved together over time to create a traditional spirit varnish with warmth, flexibility, and clarity.
For those interested in experimenting further, the violin making manual at MakingTheViolin.com provides one version of the recipe and preparation method.
Previous fellowship posts
- A Journey Through Violin Varnish Recipes
- Italian Varnishing – A Journeyman’s Tale
- Journeyman on a Fellowship: Exploring European Techniques
Fiddler Dan is supported by a 2026 Creative Arts Fellowship to study European varnishing and restoration techniques. The Brisbane City Council Lord Mayor’s Creative Fellowships program makes this kind of deep, hands-on learning possible.
