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Everything posted by Ron1

  1. And then, there's the double 3-ply/5-ply purfling.. or is it 8-ply? I want to show a pic, but I don't see the attachment 'paper clip'?? What am I missing?
  2. Lets not omit 4-ply purfling, which a number of makers used- comprised of 2 blacks on the outsides, and 2 whites together between them. This was done to achieve a wider white center (I assume it's easier to make all the strips the same thickness, plus, they are easier bent when they are not so thick).
  3. Why didn't Strad consider making a scroll something like that? Too intent on copying the others and their 'perfect' scrolls? I'll bet he would think something's wrong with it.
  4. Nathan- perhaps "largely" would have been a better word selection than "simply". Or, better yet, "usually". :-)
  5. Aren't continuous linings simply a product of the instrument having been made on an outside mold? (So that makers/schools that used outside molds would be those who also used continuous linings)?
  6. I'm thinking that by "baroque setup" they're talking only about the neck/corpus relationship.
  7. Again, regarding the rounded cutout at the top of the pegbox, Martin qualified his observation with ".. completely rounded top.." (my bold italics). I looked again, and am not certain whether or not the curve is "completely rounded", ie: circular. If so, I stand corrected. What I have seen, are turn-of-the-century (1899/1900) examples of more flatly arched, or sometimes double-arched hand carving at the top of the pegbox cavity.
  8. I agree with Conor regarding the rounded top of the pegbox- this is a hand-carved feature seen in many instruments made prior to a time when powered routers would have been used.
  9. I noted violin #1 having 4 fine tuners, violin #2 not set-up, and that both were photographed at the same time. Is there significance in these observations?
  10. ctanzio- here's full-length front & back pics
  11. Thanks for the clarification, guys. Makes sense to me now. (I thought I'd get a couple of opinions on eyes vs. ears :-))
  12. Thanks Bert & Rue. I think I've got it now! I'm not alone in my thinking that the protuberances at the sides of the scroll, when viewed from the front or back, should properly be referred to as "ears"; and when viewed from the side, as "eyes". Knute Reindahl (1857-1936) constantly experimented/changed the design of his scrolls. Ear extensions are a feature he used from time-to-time, and are seen on many of his instrument scrolls. Attached are photos of two of his violins on which he added such extensions. The first three pics are of a scroll (1902) that lost one of it's ear extensions, and the subsequent repair; the last two are of the most exaggerated extensions I've seen on his instruments (1920). Being a non-maker, I've got to ask, why can't a wider block of wood be used in the first place? Does everyone buy 'standard' pre-cut blanks, or what?
  13. Bert- The problem is, there is no attachment symbol here on the 'reply' area. I used to click on a 'paper clip' symbol, & then I could attach photos??
  14. I tried to attach photos to a post, but there is no 'paper clip'. Am I not doing something correctly?
  15. Ski- listen: "Fi~Fie~Fo~Fum". Methinks the beanstalk is much too high, and the Giants are much too big. They ain't lettin' go of that goose.
  16. I recall the previous thread. Then, as now, too many posters mistakenly talk about repairing and making, and that violin expertise can only be acquired by hands-on experience with vast quantities of instruments, etc., etc. The point is completely missed. I think the OP is talking about acquiring knowledge, not ability. Instrument-making workshops and schools do touch on this type of knowledge, but their real emphasis is on building the instruments. I disagree that the market (potential students) for a credited course is too small- in addition to the many who are just plain interested, I think many, many professional makers and dealers would avail themselves of such a course, in order to increase their knowledge and thus augment their business abilities ($).
  17. Ron1

    Photo of the Day

    This back & forth banter will just promote jalousie amongst y'all.
  18. Bruce- In your original post you say you had been "generously given" the neck, and in your later post, it seems you're saying you acquired it at auction, and did not choose to acquire the other pieces offered at the auction. Do I mis-read or mis-interpret?
  19. And the lower text might say something like "(_ B___lucci-Strad)"
  20. Have you deciphered the other words on the neck? The word preceding Stradivarius (sp) seems to possibly be "Original"?
  21. Regarding change in color perception after cataract surgery, my experience was somewhat different than David's Mother & Grandmother. Because they only 'do' one eye at a time, you have a chance, in-between surgeries, to compare your original eye (lens) with the new one. Some colors were different for me, especially the reds; and the reds I saw with the new eye were not pleasing- they tended toward a more crimson hue, having more blue than normal. A previous, pleasing "turkey red" was now a garish hue to me. The phenomenon was especially noticeable with red cars. I was not happy, but no one would believe, or admit the artificial lens did not produce "natural" colors. Now that I have both new lenses, I have no comparison, so I can no longer notice if colors are "off". But think what this would be like for a painter or artist who works with very precise color... OTOH Craig, this simple out-patient procedure will not merely slow-down or stop further deterioration of quality of sight, but will completely restore your vision. It's truly amazing! Even with my experience, I highly recommend anyone needing cataract surgery to have it done. You'll never regret it.
  22. Do dolphins and water kelpies have tails like that? And legs? But, this is getting exciting, I just heard that someone found some stones near my neighborhood too!
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