Torbjörn Zethelius

As I see it there are two important measures; the internal measure between the upper and lower blocks, and externally the body length. The first measure relates to the (baroque) string length, and the second to the player's body size.

The distance between the upper and lower blocks is the key measurement IMHO. It equals the original length of the vibrating string.

Seems to be a mix of Muratov, Brooks&Degrotte (The violin and the golden number) and Hambidge (The elements of dynamic symmetry), with perhaps some original ideas. It would be nice to have an explanation of how it all hangs together.

Practice makes perfect. A heavier gold chain is more steady than a lighter one. & Don't forget the ruler and shadow. It's the best.

I like the geometric approach.

Nathan, Here's one of two home made purfling knives along with the cradle I use for purfling the box, and a photo of me cutting the channel. I can't imagine how one could hold the box in ones lap while cutting the channel. You want the box to lay flat on the bench so the knife can be held upright. That gives the most control, I think. Also, the extra long handle helps to keep it upright.

It is commonly accepted that the Cremonese laid in their purfling after the body was glued up and the neck attached. For that you need a cradle like the one in the photo. Since baroque necks were level with the edge of the belly, they wouldn't be in the way, like a modern neck would be. The central hole allows for it to swivel, and that is exactly what you need when you lay in the purfling.

It could also have been a cradle for set up work, laying in purfling, etc.

https://www.dropbox.com/s/k5qr1ez8mei3xx7/arching_the_divide.pdf?dl=0 I would add that the famous French l’encyclopedie compiled by Diderot also states that the internal archings were made before the outsides. It makes total sense if you think about it. What’s a plate holder? The vast majority of classical instruments have similar internal archings in both belly and back. It’s true that some instruments have an internal hump in the back, but I would say that it’s the exception from the rule. And besides, who knows what these instruments have been through over the centuries.

You can figure this out for yourself. Or, read my article 'Arching the divide'.

Like the classical Italians I make the inside archings equally high in belly and back, and don't compensate for future distorsion because it's impossible to predict. If you want the belly to distort less, simply make it thicker.

Sad news indeed. My condolences to his family.

#1 is clearly the best. Buy the instrument that you like most and forget about the possible future value.

Ingen orsak! FWIW

Bellini is a great maker.

I believe that Stradivari made his scrolls in a similar way as I described in my article above, with varying proportions and ratios. He then made circle templates so that they could be reproduced by his apprentices.

Hi David, I also like to work by eye. But at the same time I think it's a good practice to establish ratios. It makes the finished work more complete IMO. BTW where does the 'standard' 42mm come from? Few Cremonese violin scrolls are that wide.

https://www.dropbox.com/s/gp7p73a3ybx7clg/Carving a scroll using angular templates.pdf?dl=0 Hope this works.

Hi, I've written an article that I think covers your question. My latest attempt at establishing the scroll width ended with me making it one Cremonese oncia wide, i.e. ≈ 39.1mm. For a viola I might use a scroll width which is a 1/9 fraction of the viola's body length.

How high is the E? It seems to go through the bridge and not over it like the other strings. I usually make my bridges thinner than your specs although I don't think that's the problem.

Buy a fake Burgess on ebay.

Not a very good copy IMO. But a nice fiddle.

So you have that much money? Looks like a nice fiddle. Buy it.