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David Beard

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  1. The first question is did he say that.
  2. It might be easier to find Vuillaume templates. (just kidding)
  3. What do you specifically mean as ground?
  4. But, what if by 'stain' you mean something along the lines of tanin or nitrates that lightly deepens the color of the wood structure. Or, what if by 'stain' you mean a colored glaze that penetrates pores and open structues of the wood, but is almost entirely transparent and appears colorless except when the light is favorable and the light path is comparatively long?
  5. The FoxNews of violins? Misleading rehash of old news. To be fair, I only glanced. But, it rather looks like she is agrandizing, falsely recasting, and taking credit for others recent work.
  6. Iridescences and thin film effectives are completely different mechanisms than the dichromism in classical violins. There is absolutely no connection. Dichromism (two colors basically) is much more related to how the sky air looks blue when the sun is over head and the light path is shorter and more direct. But the air can look in the reds to yellows and oranges when the sun is low and the light path through the air is much long. What happens still not the same as varnish dicrhromism, but it's much closer related. Dichromism in varnish involves the wood structure, transparency into the wood and reflection from it, and color of the varnish, color of the wood, and color in the ground. And light paths and angles. It's sort of an enhancement involving the wood texture and curls of what basically happens with any lake of transparent pigment. It is normal to any lake of color in painting that the apparent degree of coloring versus transparency depends not just on how you apply and make the color lake, but also on the angle and intensity of light (and viewing angle).
  7. Dichromism is seeing different colors depending on the angle and light path. So, see the color at the wood from high one angle short light path, and seeing the varnish color through a lower angled longer light path. Inteference colors are from some physical distance/gap being near in length to a light wave length. Barbs on butterfly wings or bird feathers, and oil films being classic examples. These are two unrelated and physically completely different color phenomena.
  8. I believe this reflects major cultural shifts. Not only is Guadagnini modern in the sense of looking at Famed Cremona as something outside his practice, he also is selling in a more modern environment. Less to a court or church that is providing for their house musicians. More to a pro freelance musician. But still Cosio's patronage was very important for Guadagnini.
  9. Well said. With appropriate caveats there's with having and sharing what you suspect will turn out to be true. Light microscopy of the varnish might be more prevalent than I realize. But still, the only such evidence I've yet seen publicly presented is from people showing particles.
  10. Have you tried such optical microscopy on a Strad example yet? I haven't. It seems oddly rare. I wonder who has. The only such images I'm aware of are from people who believe there are plenty of pigment particles if you go looking. I think I've seen at least some aparently similar images from Pollens, Nagavary, Echard, and this fellow. Why are people so quick to settle on an answer when there seems to be a shortage of evidence all around. Have other people tried this kind of non-invasive optical microscopy?
  11. Shakespeare's writings, as well as old paintings, suggest that leisure music was significant for nobles.
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