Mandolin by LUIGI EMBERGHER, Rome, 1923

This instrument was left abandoned, strings in tension, for many years with the following consequences :
- important deformations on the top, left and right of the fingerboard

- ungluing and deformation of the ribs and doubling in spruce

We do not want to go over the polemic with the museums in France (see “”), we consider that it is necessary to restore the physical and aesthetical aspect of the instrument, but also its function, the possibility to play it. As a matter of fact, the sonority of an instrument is its specificity, its identity, and as such deserves to be restored and saved on the same level as any other object that – as well as being a visual and cultural testimony – brings a technical and mechanical testimony.

The first stage of this restoration consisted in taking apart the various elements composing the instrument. The second was to create molds (sometimes partial) on the exact measures of the instrument, and then put back and press the various pieces. The wood, especially where it is thinner undergoes rather well such treatment, once it is wet and then heated. The pieces are left under press “molded” for quite a while; when we liberated them from their mould, and put back in their original shape.

Once the top and the box were back in their shape, the maple ribs glued again on their thin spruce doubling, the set up could be done without particular problems. The instrument is at present kept in a collection, can be played, with its original bass bar and now the work of this great maker can be seen and heard as it was created.