Thomas Knight

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About Thomas Knight

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  1. Jacob, thanks for the unmistakable clue. I also have a set of bagpipes to finish the deal.
  2. Should have given the title. Marin Mersenne's Harmonicorum Instrumentorum, Paris, 1636. It is from Ben Hebbert's Violin making in Northern Europe in the time of the Amatis: Part 2. I was researching English violins of the 17th Century when the article came up. I has thinking some amateur with only a drawing made the instrument. I know it was common to find 19th and early 20th c American violins made from books with drawings. I had at one time a few American violins with the book's drawings they were copied from. Many features were exaggerated. Huge c-bout square corners--13mm wide, etc.
  3. This French book has an instrument that looks so similar--extra long scroll with teeny scroll, f-holes that are not parallel, but canted in the wrong direction.
  4. Some of us will admit our ancestry is Scottish. MY father's birth surname was McClintic which was changed to Knight after a family, ahem, disagreement.
  5. Removed the top. There are two pinholes on the back about 30mm from the top and bottom edge. Tiny corner blocks, carved out bassbar, ribs cut into neck block.
  6. I saw two pinholes in the back about 30mm (1-1/4") from each end. Out of curiousity I popped the top. Tiny corner blocks. ribs cut into the neck block. Integral bassbar on the top. Interesting. Thanks.
  7. What I had meant to say was IF it was an old stamp, say prior to the US Civil War it would have been expensive. Post Civil War not so much. Look at old Italian master's stamps. Letters are crooked, pressure uneven, etc. By 1750 the German stamps were pretty accurate and by the time Napolean invaded the Lombardi region the stamps were considerably better. By 1820 or so the typemakers were very accurate and by the Civil War this stamp would have been available for a reasonable amount. But the workshop owners paid for the stamps, not the apprentices. The stamp IMHO is post WW1 because the perfect
  8. I thought that might be the case, but why would someone capable of precise purfling use a single dyed piece?
  9. Hi George, Maybe so. The stamp seems much, much newer in that it appears to be so precise and accurate. The metalworking by annealing the steel, then recessing the stamp, and hardening the stamp to get this much precision was known centuries ago, but only a handful of craftsmen would have been able to do this stamp prior to the Napoleanic Wars. Before the 1820's the stamp would have been a year's pay of a commoner for this precision. By 1850 metallurgical precision had advanced, especially with our Civil War in the 1860's. By WW1 this stamp would have been affordable to most anyone for a week
  10. Hi Martin, I agree 100% it is not like a David Stirrat. I looked at quite a few Stirrat and Hardie violins and found nothing similar to this one. The stamp is peculiar in that it was made for someone and wound up on this violin. The D could be another Stirrat. As a former machinist I know what process was used to make the stamp and it would be way too expensive to have been made for one application, probably several weeks pay or more. Both the English and the Germans were masters of metalworking. I could be way off, but I think it was a violin started by an accomplished maker and finis
  11. Thank you Jacob, and that is a very nice violin you posted.
  12. I wondered the same thing. The stamp is high quality and under the varnish, The neck is not affixed with the retaining wedges found on so many Saxon boxes. The neck projection is shallower than modern, but not parallel to the body.
  13. Great observation. All the Mariani violins I have seen look different from each other. I found one Mariani with the unusual f-holes and another with the small scroll, but on a shorter pegbox. From what Jacob implied in another thread it seems any violin attributed to Mariani is somewhat suspect. I hope I did not misquote or misinterpret what Jacob meant. At first I thought this violin could be a Saxon, but the channel work at the end of each c-bout tip does not ramp up where the purfling meets until all the way into the tip. All the better Italian and French I have owned seem to be dug out mor
  14. I am hoping someone can help ID the origin of this violin. I am a sucker for weird and unusual violins and this one is in those categories. It has a 2-piece neck, dainty 1.5 turn scroll like a Da Salo with a long pegbox, f-holes that appear to be an interpretation of a Brescian instrument, what looks to me to be ink stained single ply purfling, exceptionally low arching on the top, 30mm ribs, neck thru construction, 357mm 14-1/8" LOB, upper is 157mm 6-1/4". lower 192mm 7-7/8", string stop 310mm, OAL 595mm 23-1/2", no corner blocks. The saddle left an unusual mark on the ribs. It looks like ma