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Hero-Allen's Strad Model


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Ed Heron-Allen's book is very interesting. I bought an original 1885 print, but mainly as a 'souvenir' of my violin making hobby, and would probably never use any of the info in it. Someone once said it's easy to spot a violin made with his plans, so that might tell you someting.

apartmentluthier, framing those drawings might actually look cool on a shop wall....

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Matt, if the edition you have is the same as the one I read about 12 years ago, there were two fold-out full-size patterns (and a further sheet of templates) - one for the violin you just named (del Gesu), and the other one was a Strad. I seem to remember he made much of his models being, if not exactly famous, at least quite well-known. I can't remember (and didn't write down) the year of the Strad, tho...

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Again, if I remember, he referred to the plans near the beginning of the "practical" section of the book, and quite probably talks about the specific violins that he copied. If you happen to be re-reading the book at some point, and you happen to see what the Strad model was, it'd be terriffic if you could come back and update this thread... (nudge...)

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Here's what I found : "I may say that, unless you wish particularly

to copy any particular fiddle, you cannot do better than adopt the

model, outline, mould, etc. given in Plate IV., which is that of a

Stradivarius of the most finished elegance."

Unfortunately, plate IV does not contain any detailed info. And it

seems that I can't find any other info in the book, sorry.

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It would have been nice to fill in that historical gap on the Strad model. This was the original intent of my question. I imagine that many makers of his time gained valuable insight into basic design concepts. Also the passion he had for the fiddle was obvious and without doubt inspired many.


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Here's a few more templates, just for kicks:



"http://i56.photobucket.com/albums/g178/AllanSpeers/StradBlueprints.jpg ">



One has to wonder how such measurements were obtained. Did the

authors obtain actual Cremonese fiddles and take them apart?Did

they check originals (the Canone) or re-graduated examples?

Note that Geiger shows a Strad, but also a Vuillaume GDG copy,

which makes me think he measured a real Strad, (not faking it)

 since he likely measured a Vuillaume due to not having

access to an actual GDG.   -Note also that the graduation

numbers seem to be identical for both fiddles, top & bottom,

but not the other dimensions. Did Geiger get this wrong, or were

the non re-graduated Strads really this thick?

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Has anyone ever use the technic on page 259 of the republish book Heron-Allen of incerting a 3/16 wood bar in the f-holes before fitting the bass bar on the top plate to push the top wing up & the bottom down to increase air movement or is it just for looks? I have one violin that has this and it's my favorite. I'm thinking of jacking it up on this fiddle I'm building.

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