Time for "lesson two" on violin making. Below, we left off with plate outline carving and preliminary shaping- a most important task in matching an original in appearance and performance! Above are shown the back (partially shaped condition), the "garland" still attached to the mold, and the preliminary neck assembly.
Profiling continues on the top exterior.
With the exteriors correct, the concave interiors are carefully excavated.
Antonio Stradivarius did not have available a caliper with micrometer dial!
Although he did use less advanced tools, these were adequate when carefully utilized. He repeatedly compared thickness to a known good master. Also, thin spruce, held to the light, is partially transparent, aiding in finalizing the target thickness. Interior surfaces were finished with a high degree of workmanship.
The top plate next requires a bass bar. We carefully copy, fabricate, and attach his bass bar design.
Purfling of the top and back, the attachment of a tri-wood laminate strip, is done next to strengthen the plate edges. Stradivarius held this step until after assembly. (He did not use a Dremel tool.) Very likely his sharp knife "bee stings" remain the best of all time (author's opinion)!
The spruce top now can be cut for "f" holes. Templates help match the original makers outline exactly!
With the mold removed, the label is now attached and the corner blocks smoothed. Finally, the plates are glued with hide glue. With the neck is mortised, the instrument rapidly takes shape! The saddle is located and glued; the fingerboard is finalized and glued in place.
The author and violin maker is shown with the Stradivarius 1690 instrument reproduction. This fine viola is now ready to be strung and tested before varnishing!
